Customer Reviews

An Edited Review.

by
//anna.

My. What a funny thing it is when a person tries to relate the phenonemon that is Matt Bellamy to anything else that is tangible in this world. Muse's sound is epic, it is untouchable. Your thoughts seem stolen from reality on the first chord. I can see how this small-minded reviewer had a difficult time. But really. Why did they even try. Muse, a mind-turning event unto themselves, cannot be related to any one person, any one sound, in any which way. It is a joke then, when this person trys to connect Matt's chilling falsetto, heralding warnings of the end, to the messed up simplicity of Thom Yorke's voice. It cannot be done. Some people are inspired easily, but there are also those who need a little more, who cannot be inspired by mainstream sounds, so empty in their meaning but labeled as much more. Muse has managed to inspire me in ways I could not previously touch upon, filling me with thoughts most choose to disconnect. Most being the small-minded majority, who attempt to set limits on a sound that is limitless. Muse cannot be worded, not by a person whose words were taken right from their mouth upon Muse's first sound. What Muse conveys is something that this reviewer can never capture, because the foreign beauty this band crookedly unravels is something that was never in some narrow reviewer's head to begin with. Your mind must be open if you're to understand this break from the unchanging system that has become music. What Muse has shown us was never really on this world to begin with. (Anna).

What?

by
viscerae

I'm sorry pikachu178, but I don't think that Matthew Bellamy sounds anything like the singer in My Chemical Romance.

Pure Genius

by
~Melpomene~

It is beyond me why iTunes chose such an inarticulate critic to write the official review for Absolution. While he does sound indifferent and unbiased, he also is completely blind to the true greatness of Muse especially by relying on comparing them to other artists. I am completely bewildered as to why Muse seems so undiscovered in America and so underrated. Living in an extroverted society, we seem to have turned to music that is rowdier, not as deep, and less creative. After watching any of Muse’s live performances, anyone can see that Muse is unarguably one of the most talented bands we have today. They put all their energy into writing music that is insightful, imaginative, and meaningful. In the past I’ve heard several people suggest that Matthew Bellamy is ADD. I don’t think that’s likely. Musicians need to be completely focused when they perform. It’s just an attempt to pin to his face a logical reason for the unrestrained emotions of the music he writes. Whatever is that motivates him; it’s not something logic can put a finger on. He is a genius and is never afraid experiment or be something different. Critics can only really go so far with words in their attempt to rate the brilliance of music. It’s impossible to put a name or label on Muse, but alternative works just fine although it may be broad.
Absolution is nothing short of the extreme. It switches continually from the melancholy atmosphere created by classical piano and violins to the heavy powerful full blown guitar and bass, but the tense, desperate, impatient mood overall never falters. The lyrics nicely assist the music in exploring the deepest parts of human nature. To anyone who has the same questions and fears buried within themselves that are presented in this album, it may not be reassuring, but it is comforting to hear their truths unearthed.
Intro: It’s not really a song, but it is a few seconds of a snare drum appropriately presents the album
Apocalypse Please: Very dramatic. Very Muse. It’s an ambitious way to start an album, and it doesn’t fail to capture your attention and you are succumbed to banging piano chords.
Time is Running Out: Justly one of Muse’s most popular songs. It starts out low with the ingenious snapping and bass, then the guitars come in and the mood becomes fierce, and panicked.
Sing for Absolution: Starts out haunting and quiet, then by the time the electronic guitar comes in, it has grown into fear and desperation.
Stockholm Syndrome: We’re back to the theme of Time is Running Out. This is one for anybody who likes heavy guitar. It’s instantly likeable.
Falling Away With You: Easily one of the prettiest songs. Very nice acoustic guitar.
Interlude: Once again, it’s not really a song, but it’s a nice little transition.
Hysteria: Famous for Chris’ killer bass. The warped and tormented vocals make it even better.
Blackout: An epiphany of a song that is not as depressed as it is reflective. To me it doesn’t seem to be sad at all. Whatever it does happen to make you feel, there is no doubt it is beautiful with its slow violins and guitar.
Butterflies and Hurricanes: This song stresses the importance of the individual, and how a single person can change the course of so many. Halfway through the song it breaks off into a classical piano solo inspired by Rachmaninoff, and you are initially fooled into thinking a new song has begun until it returns to the previous melody.
The Small Print: Very catchy.
Endlessly: A love song that repeats, slowly turning your bones to mush.
Thoughts of a Dying Atheist: The heavy serious lyrics don’t bring justice to the song, leaving you with an empty, hallow feeling which may or may not have been the intention.
Ruled By Secrecy: This one sadly seems to be highly underrated. The last song gives you a sense of closure, and therefore this one is a bit of a surprise when you hear the first few notes played on the piano. The raw truth is haunting and slightly disturbing, and is perfect for Matt’s eerie falsetto.
Fury: A nice addition to this album. It’s a B-side that’s not on most physical copies. The irony in this song is quite entertaining (“we’ll pray that there’s no God.”)
It’s such a disappointment when the album finally dissolves into silence. All in all, it’s a fantastic album. There aren’t too many songs that greatly outshine others, so it’s defiantly worth the entire purchase.

Biography

Formed: 1997 in Teignmouth, Devon, England

Genre: Alternative

Years Active: '90s, '00s, '10s

Muse's fusion of progressive rock, glam, electronica, and Radiohead-influenced experimentation is crafted by guitarist/vocalist Matthew Bellamy, bassist Chris Wolstenholme, and drummer Dominic Howard. Bored by the sleepy life provided by their hometown of Teignmouth, Devon, the three British friends began playing music together. They started the first incarnation of their band while only 13 years old, changing the name of the group from Gothic Plague to Fixed Penalty to Rocket Baby Dolls as time...